David Edelstein

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For 1,844 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.6 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 15 Minutes
Score distribution:
1844 movie reviews
    • 72 Metascore
    • 80 David Edelstein
    The Kill Team, an essential film no matter what your political convictions. The setting is Afghanistan, but it might be Iraq or Vietnam or anywhere with occupying forces. It might be Gaza. This map of hell is timeless, placeless.
    • 76 Metascore
    • 80 David Edelstein
    Clement and Waititi are intimate with the conventions of vampire movies and reality TV and must have had a crazy-great time blending the unblendable in the best SCTV tradition. But it’s the absence of camp that I keep coming back to. They scale it down and play it real. They’re undeadpan.
    • 79 Metascore
    • 80 David Edelstein
    This is lovely, momentous piffle.
    • 65 Metascore
    • 80 David Edelstein
    A fascinatingly strange and chaotic ballet set to familiar noir motifs.
    • 77 Metascore
    • 80 David Edelstein
    This world is ravishingly beautiful, but there’s also something oppressive about its exoticism. The color doesn’t just saturate the frame; it thickens it.
    • 69 Metascore
    • 80 David Edelstein
    The Unknown Known is a worthy addition to Morris’s body of work, an epic search that demonstrates the limits of language, the ease of sidestepping truth.
    • 80 Metascore
    • 80 David Edelstein
    There's nothing like a film about wayward passions to remind you how differently people feel things.
    • 68 Metascore
    • 80 David Edelstein
    For all the movie's pixilated transitions, fisticuffs, and hyper-alert climaxes at the roulette table, there's a kind of temperamental evenness that's perfectly in sync with the protagonist.
    • 71 Metascore
    • 80 David Edelstein
    I urge you not to pass up Black Book, especially on a wide screen. It's a marvelous movie-movie, with a new screen goddess. Van Houten has a soft, heart-shaped face on top of a body so naturally, ripely beautiful it has its own kind of truth.
    • 65 Metascore
    • 80 David Edelstein
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
    • 82 Metascore
    • 80 David Edelstein
    I think this tale of woe can principally be seen as a plea for a heightened sense of community. It takes a village to keep us all afloat.
    • 70 Metascore
    • 80 David Edelstein
    A pungently funny and heartfelt piece of wish fulfillment.
    • 66 Metascore
    • 80 David Edelstein
    It’s Moss who takes the film to a higher, scarier level. After years of playing Peggy Olson on "Mad Men", she knows how to smile and nod and say one thing while obviously meaning the exact opposite, and when at last she unleashes the truth, it’s with demonic intensity. She turns subtext into horror-poetry.
    • 83 Metascore
    • 80 David Edelstein
    You get a bad feeling early in Project Nim, the brilliant, traumatizing documentary by James Marsh (Man on Wire).
    • 62 Metascore
    • 80 David Edelstein
    Bug
    Has the feverish compression of live theater and the moody expansiveness of film. The mix is insanely powerful.
    • 69 Metascore
    • 80 David Edelstein
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
    • 84 Metascore
    • 80 David Edelstein
    If high-toned futuristic time-travel pictures with a splash of romance float your boat the way they do mine, you'll have yourself a time.
    • 72 Metascore
    • 80 David Edelstein
    This is a rare case in which Marvel has freed a director’s imagination instead of straitjacketing it.
    • 69 Metascore
    • 80 David Edelstein
    The tagline for Tiller Russell’s riveting new documentary, The Seven Five is “Meet the dirtiest cop in NYC history,” which I suspect does a profound disservice to a lot of other NYC policemen, past and present — although none of them are likely to write letters of complaint.
    • 84 Metascore
    • 80 David Edelstein
    Despite its downbeat context (a plague at its height), the movie is a crowd-­pleaser — graceful and funny enough to distract you from its gaps and elisions.
    • 53 Metascore
    • 80 David Edelstein
    If you can get past the craven concessions to formula, though, it’s rather underful--I mean, wonderful. Taking his cues from John Tenniel’s famous illustrations, Burton indulges his delight in disproportion.
    • 63 Metascore
    • 80 David Edelstein
    This Merchant of Venice comes roaring to life--when it stops, in effect, apologizing for its terrible anti-Semitic worldview and just gives itself over to some of the most furious courtroom drama ever written.
    • 70 Metascore
    • 80 David Edelstein
    What the film does have is coruscating anger, impish wit, and a breathtaking style.
    • 70 Metascore
    • 80 David Edelstein
    Transcends its murkiness and eats into the mind. Cure is what ails you.
    • 69 Metascore
    • 80 David Edelstein
    Venus in Fur is both kinky and can pass as a form of self-flagellation. One additional, not-small thing: It allows him to demonstrate, with a minimum of means, his superb craftsmanship.
    • 71 Metascore
    • 80 David Edelstein
    Say what you will about Mad Mel Gibson, he’s a driven, febrile artist, and there isn’t a second in his war film Hacksaw Ridge — not even the ones that should register as clichés — that doesn’t burn with his peculiar intensity.
    • 85 Metascore
    • 80 David Edelstein
    The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
    • 81 Metascore
    • 80 David Edelstein
    I’ve seen Upstream Color twice and liked it enormously while never being certain of anything.
    • 78 Metascore
    • 80 David Edelstein
    This is one of the last Gandolfini performances, and it’s the ultimate proof that he could change his look and sound and rhythm without losing the source of his power: the connection to that inner baby ever starved for love and nourishment.
    • 64 Metascore
    • 80 David Edelstein
    The movie ends abruptly-too abruptly for my taste-but the gaiety lingers through the closing credits. Not even apocalypse can dispel the sexy vibes.

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